Othello – Queen’s Hall Arts Centre, Hexham

Writer: William Shakespeare

Director: Jake Murray

Generally seen as one of Shakespeare’s four greatest plays, the tragedy of the heroic Moor, duped into believing his faithful wife has betrayed him, thereby destroying both her and himself, is often thought problematic because of its twin themes of racism and misogyny. It also has not a whit of comic relief throughout. Add to this its length, and the improbable ease with which not just Othello but almost everyone around him is taken in, and the potential difficulties for the director and the actors are clear.

The solution to all these difficulties comes in one word – Iago. This character is one of the Bard’s most ingenious, complex and fascinating creations. From his first entrance he relates his overwhelming hatred for the eponymous hero, having been passed over for promotion, and resolves to destroy him. Witty, resourceful and entirely unscrupulous, he turns everyone to his will. Roderigo, smitten with Othello’s wife, Desdemona, is fooled into bankrolling him in hope of stealing her from her husband. Cassio, the Moor’s noble and upright lieutenant, he tricks into drunkenness, whereby he disgraces himself in Othello’s eyes, opening the door for Iago to persuade him that the young man is having an affair with Desdemona.

In this pivotal role, Danny Solomon delivers a striking and memorable performance. Believably soldierly in his modern-dress, desert camouflage uniform, he holds the stage from the first, handling the complex text with skill and a devilish charm. The way he twists and turns in response to his victims threatening to see through his deceptions, is masterly. Flattering and cajoling them to his will, he is endlessly inventive, and the audience cannot doubt that he will succeed.

Faz Singhateh almost matches him in the less nuanced title role. He has presence, stature and a rich, warm voice, successfully embodying the successful General, effortlessly in command. He also manages his descent from triumphant warrior to jealous madman with a moving sincerity.

Hannah Ellis Ryan’s Desdemona is noble, straightforward and affecting. It seems impossible to believe that she could be faithless, as indeed she is not. Her portrayal as she prepares for what she fears will be her death, singing plaintively as she brushes out her hair, is almost unbearably poignant.

Jamie Brown provides strong support as the hapless Roderigo, as does Alexander Townson as Cassio. Heather Carroll is an earnest Emilia. The ensemble also works smoothly to effect what small scene changes there are in front of Lee Ward’s and Caitlin Mills’ effective set.

At two hours and 50 minutes, it is inevitable there are some longueurs in the second half of the production, particularly since so much has already been set in train that it is hard to maintain the sense of jeopardy. Also, the ultimate bedroom scene, though convincingly tragic, does not manage to entirely avoid the bathos arising from bodies piling up on a bed. The author must take some of the blame for this. In addition, playing in modern dress makes it harder to differentiate when the hard-working cast are doubling or trebling characters. Some more consideration might be given to the costumes to assist with this.

But these are small criticisms. This is a handsomely staged, well-acted and ultimately rewarding performance of one of the Bard’s most difficult plays. Presented by Elysium Theatre Company, it tours the region until 20 October 2024.

Runs until 19 September 2024